Lauren is a paintings conservator and collections manager based in New York City. She graduated magna cum laude as a double major in Art History and Historic Preservation as a Phi Beta Kappa member from Mary Washington College. She then entered the graduate program at New York University's Institute of Fine Arts, where she studied Art History and trained in the Kress Program in Paintings Conservation at the IFA's Conservation Center. She gained additional training at The National Galleries of Scotland and Rustin Levenson in New York City. 

She received a postgraduate certificate from the University of Cambridge and continued at the Hamilton Kerr Institute under a Kress Fellowship focused on French masterworks from the Fitzwilliam Museum. 

Lauren then worked privately in London and Cambridge. In 2008 she worked as a paintings conservator for the Instituut Collectie Nederland, and then at a private studio in the Netherlands.

In 2011, she founded the Fly Arts Initiative, a fine art conservation and collections management practice based in New York, NY. Lauren works with museums, private collectors, galleries, and other stewards of cultural heritage to preserve and protect their objects. She is passionate about promoting and demystifying conservation for the wider public, and loves talking about little things that can make a big difference.

For more information on Fly Arts Initiative, please visit https://www.flyartsinitiative.com/

Time stamps:

(3:14) Intro to art conservation

(4:45) Discovering conservation

(6:27) Pre-program experiences 

(7:14) Applying to graduate school

(8:00) Graduate experience at NYU's Institute of Fine Arts

(10:40) Summer internship at The National Galleries of Scotland

(11:40) Internship and post-graduate training at Hamilton Kerr Institute

(13:59) International visas and transition to Netherlands

(18:26) Freelancing in England

(18:35) Instituut Collectie Nederland

(20:16) Private practice in the Netherlands

(21:15) Dutch American Friendship Treaty

(22:08) What is a business plan? 

(24:07) Fly Arts Initiative business plan

(24:54) Business plan benefits

(26:40) Contents in CIPP Library within the American Institute for Conservation

(27:46) Fly Arts Initiative business plan (cont.)

(29:24) Naming of Fly Arts Initiative 

(30:42) Fly Arts Initiative in Amsterdam

(32:24) Insurance for practice in England, Amsterdam, New York City

(34:25) Setting up a paintings studio space

(36:45) Transition from Amsterdam to Virginia 

(38:27) Business transition from Amsterdam to Virginia

(39:50) Studio equipment and tools transition

(40:54) Building clientele in Virginia 

(41:23) Transition to New York City (NYC)

(42:06) Working at SGS Art Division Services

(45:43) What is collections management?

(47:25) Building client relationships

(50:07) Management skills in private practice

(55:57) Tips for building studio management skills

(55:59) Transition from SGS Art Division to Fly Arts Initiative

(57:14) Studio features and functionality 

(58:22) Charging clients

(1:00:44) When did your business become profitable?

(1:01:49) Retirement plans

(1:03:30) Expansion plan

(1:03:40) Treatment vs collection management hours

(1:04:22) Role as Chair of CIPP within AIC

(1:07:27) Conservation visibility beyond treatment

(1:08:52) Increasing conservation’s visibility via business planning 

(1:11:21) Approach to negotiation 

(1:13:38) Conserving paintings in the 9/11 Memorial Museum collection

(1:15:19) Tips for emerging professionals

(1:15:52) Strategically finding clients and projects; professional development

(1:18:12) Final thoughts on private practice

Disclaimer: The views, thoughts, and opinions expressed in this podcast belong solely to the speaker, and not necessarily to the speaker's employer, organization, committee, or other group or individual. No individual connected with this podcast, in any way whatsoever, can be responsible for your use of the information within this interview.

Rosa Lowinger is a conservator of sculpture and architecture with over 35 years of experience. She is the founder and current co-chief conservator of RLA Conservation of Art + Architecture, a firm with offices in Miami and L.A., a graduate of the NYU Conservation Program, and a Fellowof AIC and the Association for Preservation Technology. Rosa was the 2008-09 Rome PrizeFellow in Conservation at the American Academy in Rome where she researched the history of vandalism and iconoclasm. In addition to practicing conservation, Rosa is a published author whose books include Tropicana Nights: The Life and Times of the Legendary Cuban Nightclub, and the upcoming Dwell Time: A Memoir of Art, Exile and Repair. Rosa’s upcoming memoir about conservation and her Cuban family was the recipient of a Kress Publication Fellow from AIC and is available for pre-order at your favorite local bookstore or wherever you buy your books. 

In this episode, we discuss the three private conservation businesses Rosa co-created or created, the challenges of outdoor sculpture and modern/contemporary art conservation, the process of selling her latest business in order to prioritize writing about conservation, and much more! This interview is packed with advice for those interested in private practice so don’t miss out! 

For more information about Rosa’s books, please visit rosalowinger.com. 

For more information on the RLA Conservation, please visit rlaconservation.com.

Time Markers: 

(01:56) Introduction

(03:09) Conservation discovery

(04:55) Experience at NYU

(06:04) Experience at Penn Museum (previously University Museum)

(07:28) First private practice partnership

(08:29) Post-graduate fellowship at LACMA (Los Angeles County Museum of Art) 

(10:47) Challenges of modern/contemporary art 

(20:04) Challenges of outdoor sculpture conservation

(22:33) Thoughts on certification

(26:01) Second private practice in South Carolina

(31:50) Advice for emerging professionals #1

(34:53) Determining rates

(35:48) Conservation bidding processes

(36:42) Making space for the business

(37:35) Selling a conservation business

(43:31) Gross vs Net income

(44:54) Advice for emerging professionals #2

(48:03) Studio spaces of RLA Conservation

(49:15) Tools and equipment for business

(49:48) Qualities in a conservation hire

(51:31) Management style

(53:06) Challenges of international work

(53:53) Insurance for the business

(54:35) Profitability

(55:45) Advice for emerging professionals #3

(57:39) Legacy

Disclaimer: The views, thoughts, and opinions expressed in this podcast belong solely to the speaker, and not necessarily to the speaker's employer, organization, committee, or other group or individual. No individual connected with this podcast, in any way whatsoever, can be responsible for your use of the information within this interview.

Elizabeth Nunan is the owner and lead conservator at Flux Art Conservation Corp. Working in private practice for over a decade, she has gained experience restoring an incredible variety of damages on increasingly unique media and large-format artworks. As the former President of Alliance for Response New York City, Beth gained additional expertise in the area of disaster planning for collecting institutions and provides disaster response coaching for major art museums across the country. Prior to relocating to Philadelphia, Beth worked with the talented conservators of Luca Bonetti, Corp. preserving and restoring modern and contemporary art collections, and as part of the impressive conservation team at the American Museum of Natural History. Her previous conservation experiences also include internships at the Center for Puppetry Arts, the Bernice Pauahi Bishop Museum, the National Museum of the American Indian, the American Philosophical Society Library, and the Denver Art Museum. Beth is a graduate of the Buffalo State College Art Conservation Program, where she received a Masters in Art Conservation with a Certificate of Advanced Study. 

In this episode, Beth and I discuss her background, how she began taking private work to supplement her museum salary, and how she transitioned to a full-time practice based in Philadelphia. We also discuss the nuances of contemporary art conservation, her thoughts on certification, perfectionism within conservation, and more! Full disclosure, Beth is my current boss and mentor and we have discussed several topics included in this episode previously which leads to a more informal tone at times in this conversation. And now, here is my interview with Beth Nunan.

For more information on Flux Art Conservation, please visit:

https://www.fluxartcon.com/

Time Markers:

(2:17) Introduction

(3:28) Undergraduate studies at the University of Denver

(8:21) Applying for graduate school

(9:07) SUNY Buffalo graduate experience

(11:50) Structuring first private projects

(13:13) Determining early charging rates

(14:46) Employment at the American Museum of Natural History

(16:45) Employment at private practice in New York City

(18:55) Establishing a private practice

(23:04) Creating a studio space

(26:35) Profitability of business

(29:31) Building and maintaining clients

(31:18) Business resources

(33:12) Business insurance

(33:51) Current charging system

(36:51) Types of conservation inquiries

(41:33) Expanding the staff

(43:40) Traits looked for in conservation hire

(44:55) Work-life boundaries

(46:21) Ethics important to studio

(47:34) Imposter syndrome

(48:09) Documentation “black hole”

(50:10) Damage and modern/contemporary paintings

(51:59) Transition from objects to paintings conservation

(54:52) Complex ethics with contemporary art

(56:39) Perfectionism in the field

(1:02:44) Managing emotions

(1:05:00) Complex ethics with private practice

(1:08:46) Branding

(1:11:35) Certification

(1:15:02) Unlikely aspect of running business

Disclaimer: The views, thoughts, and opinions expressed in this podcast belong solely to the speaker, and not necessarily to the speaker's employer, organization, committee, or other group or individual. No individual connected with this podcast, in any way whatsoever, can be responsible for your use of the information within this interview.

Vincent Dion is a graduate of the Master of Art Conservation Program at Queen’s University (MAC 2016) with a specialization in the conservation of works on paper, photographic materials, and new media. He has completed curriculum internships at the Canadian Conservation Institute, the National Gallery of Canada, and the Art Gallery of Ontario as well as further professional development at the Getty Conservation Institute in Los Angeles, and at the Hirshhorn Museum and Sculpture Garden in Washington DC. From the conservation of fine art on paper to historical documents and maps, archives of photographs taken by monks, and assemblage artworks, Vincent has applied his knowledge to various projects in Europe, South-East Asia, and most recently back in Canada. He enjoys problem-solving and working in collaboration with specialists to find solutions that respect the material integrity and life of objects, as well as their intended use. In this episode we discuss Vincent’s transition into the private sector during the COVID pandemic, setting up his studio space, and his recent work with The Archives of the Anglican Diocese of Toronto. We also talk about the challenges of putting a value on one’s time and experience, the lack of diversity in terms of who has access to conservation services, and the impact of one’s mental health in relation to conservation work. 

For more information on CONSERVATION+CULTURE, please visit:

https://www.conservationplusculture.com/

For more information on the Archives of Anglican Diocese of Toronto, please visit:

https://www.toronto.anglican.ca/parish-administration/archives/?lang=en

Time Markers:

(02:05) Introduction

(02:45) Discovering conservation

(03:43) Undergraduate studies in Analytical Science

(06:25) Graduate studies at Queen’s University

(09:10) Continued development (Getty Institute and Hirshhorn Museum and Sculpture Garden)

(10:53) Contract and private studio work

(13:01) Transition to working in private practice

(14:57) Starting business in Toronto

(17:31) Real estate challenges in Toronto

(19:04) Creating CONSERVATION+CULTURE brand

(20:17) Importance of referrals

(22:21) Creating space for the business

(24:29) Intentional studio design

(26:15) Advantages of larger studio space

(27:05) Best business resources 

(28:32) Insurance

(32:35) Charging clients

(34:09) Future goals

(37:59) Profitability of business

(38:35) Work with Archives of the Anglican Diocese of Toronto

(44:28) Tips for conducting similar projects

(46:12) Emotional tax of private conservation work

(52:38) Lack of diversity in who has access to conservation services

(57:45) Values and ethics of CONSERVATION+CULTURE business

(58:34) Tips for emerging conservators

Disclaimer: The views, thoughts, and opinions expressed in this podcast belong solely to the speaker, and not necessarily to the speaker's employer, organization, committee, or other group or individual. No individual connected with this podcast, in any way whatsoever, can be responsible for your use of the information within this interview.

Jennifer McGlinchey Sexton is a paper and photograph conservator in private practice in Colorado Springs. Trained as a fine-art photographer, Jennifer holds an M.A. in Art Conservation from Buffalo State College, a certificate in Arts Management from SUNY Purchase, and a BFA in Photography from Massachusetts College of Art. Jennifer has honed her skills as a conservator and photographer in positions at museums, regional centers, and private practices throughout the United States. Jennifer is a Professional Associate member of the American Institute for Conservation (AIC). In this episode, we discuss how Jennifer started her practice after moving to Colorado,  her experience teaching interns, her work as Secretary for the AIC Board. Of special interest is her experience of recently expanding her business with a bank loan to purchase a building, renovating the space and creating of an art community and studio called “zoneFIVE” with the additional space.

For more information on McGlinchey Sexton Conservation and zoneFIVE, visit: 

https://www.msartconservation.com/

https://www.zonefivecs.com/

Time Markers: 

(01:32) Introduction

(02:08) Pre-program experience 

(07:03) Graduate school application

(09:21) Experience at SUNY Buffalo State College

(11:54) Time at Williamstown Art Conservation Center

(12:46) Thinking about private practice

(14:09) Time at Paul Messier’s studio

(15:02) Family life and work in Boston

(16:54) Move to Colorado

(20:09) Starting McGlinchey Sexton Conservation

(21:32) Pros and cons of gome studio

(23:37) Preparing home studio for conservation work

(24:55) When McGlinchey Sexton Conservation became profitable

(27:52) Charging clients

(29:04) Circumstances and process of purchasing new studio space

(39:22) Pros of new studio space

(40:56) Description of purchased building

(43:12) zoneFIVE

(45:11) Intersections betwen conservation and the public

(47:24) Mentorship and teaching experience

(49:07) Goals for future team expansion

(50:55) Balancing work and personal life

(53:37) Challenges of communicating conservation to clients

(56:26) Work as Secretary of the American Institute for Conservation (AIC) Board

(01:01:13) Advice for emerging professionals interested in private practice 

(01:04:01) Pros of opening to studio to the public

Disclaimer: The views, thoughts, and opinions expressed in this podcast belong solely to the speaker, and not necessarily to the speaker's employer, organization, committee, or other group or individual. No individual connected with this podcast, in any way whatsoever, can be responsible for your use of the information within this interview.

A native of Rochester, New York, Peter Mustardo began his career at the then International Museum of Photography at the George Eastman House in 1978. After getting a Master's degree from Columbia University in Preservation Administration, he took a position as a conservator with the NYC Municipal Archives where he became responsible for their Preservation Section, overseeing the conservation laboratory and the photographic division of the largest municipal archive in the USA. From that position he moved to the National Archives in Washington DC where he worked as their Preservation Coordinator, disseminating official preservation policy nationwide, across the country from NYC to Texas, California to Alaska. In 1991 with Nora Kennedy he formed The Better Image® a private practice Devoted to the Conservation and Preservation of Art and Historic Photographs. The Better Image® serves the conservation treatment needs of a diverse clientele and focuses on institutional, corporate, and individual collectors. Peter has authored a number of articles on photograph conservation and has taught and lectured on the topic in the USA and abroad. In January 2023 The Better Image® celebrated its thirty-third year in continuous operation. 

In this episode, we discuss how Peter and Nora started The Better Image and judiciously grew the business with three studio locations at one point. Peter also describes the challenges of planning for retirement and his thoughts on what is considered an asset within a conservation practice. 

For more information on the Better Image, visit: https://www.thebetterimage.com/

Time Markers:

(2:18) Introduction

(6:18) George Eastman House

(09:16) Time at New York Municipal Archives

(12:39) Start of the Better Image

(14:43) Tools and equipment for photograph and paper conservation

(16:11) Thoughts on advertising

(19:28) Justifying the cost of conservation work

(21:02) Private vs. Institutional conservation bids

(22:46) Move to Pittstown, NJ

(32:16) Investing in employees

(36:19) Insurance and certification

(37:29) Incorporation

(40:46) Aftermath of Hurricane Sandy

(41:43) Opening a third studio

(46:08) Insurance claims

(52:40) Managing profits

(53:48) Board of advisors and SCORE program

(55:45) Paths to retirement

(57:43) Value of documentation database

(1:01:43) Can a database be passed on?

(1:04:02) Thoughts on retirement

(1:08:02) Hard lessons learned

(1:10:26) Advice for emerging professionals

Disclaimer: The views, thoughts, and opinions expressed in this podcast belong solely to the speaker, and not necessarily to the speaker's employer, organization, committee, or other group or individual. No individual connected with this podcast, in any way whatsoever, can be responsible for your use of the information within this interview.

Jen Munch (she/her) is an independent conservator in New York City. She specializes in the treatment of modern and contemporary paintings. Jen is 2019 graduate of the three-year art conservation graduate program at Buffalo State College and holds a Bachelor of Fine Arts (BFA) in visual art from the School of the Museum of Fine Arts, Boston.

She previously worked at the private practice Contemporary Conservation in NYC and as a contract conservator at the National Gallery of Art, Washington. Jen has practiced paintings and objects conservation at museums and private practices including the Hirshhorn Museum and Sculpture Garden, the Phillips Collection, the Isabella Stewart Gardner Museum, Gianfranco Pocobene Studio, Inc., and Rika Smith-McNally & Associates, among others.

Jen is active in the American Institute for Conservation and currently serves as the Chair of AIC’s Contemporary Art Network. In this interview, we discuss Jen’s transition into the private sector during the outbreak of COVID, how she started and grew her business in New York City, and the lessons she’s learned in bidding for federal contracts and in business classes, including why the IRS may audit you and a great tip to prepare for that process. We also discuss the challenges of accredition for the field of art conservation. And now, here is my interview with Jen Munch.

For more information on Jen Munch Art Conservation, please visit:

https://www.jenmunch.com/

Disclaimer: The views, thoughts, and opinions expressed in this podcast belong solely to the speaker, and not necessarily to the speaker's employer, organization, committee, or other group or individual. No individual connected with this podcast, in any way whatsoever, can be responsible for your use of the information within this interview.

Ana Alba is the owner of Alba Art Conservation, LLC., which specializes in the conservation and analysis of modern and contemporary art, painted surfaces, and traditional paintings.  Ana is a 2009 graduate from the Art Conservation Department at Buffalo State College. Following her graduation, she was awarded the  William R. Leisher (LIE-SURE) Fellowship in the conservation of modern and contemporary paintings at the National Gallery of Art. She is also a Professional Associate of the American Institute for the Conservation of Historic and Artistic Works. Ana has held recent contracts at the National Gallery of Art, the Smithsonian American Art Museum, the Hirshhorn Museum and Sculpture Garden, the Georgia O'Keeffe Museum, and the Philadelphia Museum of Art. In this episode, we discuss Ana’s educational background, her contract work with various east coast museums, her relocation to the Pittsburgh area, and how she balances her business with her work at the Carnegie Museum and family life. 

For more information Alba Art Conservation, LLC., please visit http://www.albaconservation.com/ . 

Disclaimer: The views, thoughts, and opinions expressed in this podcast belong solely to the speaker, and not necessarily to the speaker's employer, organization, committee, or other group or individual. No individual connected with this podcast, in any way whatsoever, can be responsible for your use of the information within this interview.